THE PHOTOGRAPHY OF HORST A. FRIEDRICHS | WIN A FREE SIGNED COPY OF HIS LATEST BOOK ‘DRIVE STYLE’

horst a. friedrichs drive style

Jade, Hot Rod Night, Ace Cafe London, 2013 — Image by © Horst A. Friedrichs

I’m a big fan of Horst A. Friedrichs. (I have literally worn the cover off of my copy of Or Glory, 21st Century Rockers.) His style is about as far away as you can get from the balls-out vibe in a lot of today’s lifestyle photography (which I also obviously love). In Horst, there’s a strong sense of controlled curation in every stunning portrait. No minute detail escapes his critical eye. Every subject is perfectly directed (dressed, coiffed, posed) to evoke the desired mood. Horst is much more than a great photographer– he’s an artist imposing his masterful will upon the subject and setting to create lasting images that move you through their overall flawless composition. In Horst’s latest book Drive Style he dives into Britain’s rich & eclectic car culture, capturing amazing rare, historical, and custom automobiles alone or with their owners, drivers, and spectators. Keep reading to find out how you can win a free copy signed by Horst A. Friedrichs.

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HOLLYWOOD’S INNOVATIVE KUSTOM KULTURE LEGEND | DEAN JEFFRIES

Dean Jeffries Pontiac GTO Monkees Car - Monkeemobile

Pontiac GTO Monkeemobile built by Dean Jeffries. The car was featured on the NBC network’s comedy television show “The Monkees” starring Davey Jones, Mike Nesmith, Micky Dolenz, and Peter Tork. Created from two Pontiac GTOs, the visually radical Monkeemobile was an instant hit with fans of the show. This shot shows the dragster-inspired parachute deployed at Dean Jeffries Automotive Styling offices on Cahuenga Boulevard in Los Angeles. 

Legendary painter, customizer, racer, and stuntman Dean Jeffries is one of those guys whose soft-spoken nature has allowed other, more self-promoting figures (read: George Barris, the Don King of Kustom Kulture) to steal a lot of his thunder. Barris has tried to hire on Jeffries as an employee many times over the years, and Jeffries always rebuffed– preferring either to rent his own space, or work freelance. Their histories are forever entwined, and the tales of rivalry, and particularly Barris’ trickery, are the stuff of legend. Many of Dean Jeffries’ most recognized works (like the Monkeemobile, for one)– George Barris came behind and unrightfully claimed credit for them. It’s dumbfounding and downright sleazy– we’ll get to that later.

Dean Jeffries grew up immersed in Los Angeles auto culture– his dad was a mechanic, and next door to his dad’s garage was a bodyshop. The young Jeffries was drawn to the creative expression allowed in bodywork over turning a wrench (“too greasy!”) like his ol’ man– the bodyshop became his hangout of choice. After returning from the Korean War, he became buddies with another future legend of Kustom Kulture— Kenny Howard (AKA Von Dutch), and started pinstriping.

“We’d do freelance pinstriping on our own, then get together and hang out. I also worked during the day at a machine shop doing grinding. But pinstriping really took off then–I was painting little pictures and medallions on cars. My first job was pinstriping a boat. I didn’t have no shop back then. You were lucky if you got $5 for a whole car. If you got $25 in your pocket in a day you were King Kong. I thought it was great.” –Dean Jeffries

More than anything else, I’ll always remember Dean Jeffries for painting the infamous “Little Bastard” badge on the Porsche owned by his racing buddy– James Dean.

“For years Barris claimed he painted it– now he just says he can’t remember and somebody in his shop painted it. Sure. I used to bum around with James Dean. I wasn’t trying to be his movie friend. We just had car stuff between us. We hung out, got along together real bitchin’. But one day Dean asked me to paint those words on his car, and I just did it.” –Dean Jeffries

Love this pic. There’s the obvious knockout pinup, Carol Lewis (Dean Jeffries’ high school sweetheart in front of his ’47 Merc), posing for his pinstriping pleasure, but also check out Dean Jeffries’ paint box. “The Modern Painter Has Arrived.” It’s an incredible piece of work in itself.

“The above shot comes from a publicity shoot done ironically, at Barris’ shop, with George behind the camera. Jeffries was just out of high school, and Barris tried to hire him, but Jeffries wanted to sub-contract to Barris, so Barris cleaned out a storage area in his shop, and Jeffries based himself out of there. Pretty slick on Barris’ part– he could grab Jeffries any time he wanted a striping job.” –Thanks to Irish Rich for the story on Carol Lewis.

Carol Lewis’ custom 1956 Chevrolet– Dean Jeffries high school sweetheart.  –image via Kustomrama “It was Jeffries who was having dinner across the street from Barris’ shop when he spotted the smoke coming from the start of the disasterous Dec. ’57 Barris shop fire. He ran across the street and broke in, and managed to get Lewis’ 56 Chevy out of there before the flames got too out of control. Lewis’ Chevy was done in a similar style as Jeffries’ ’47 was.” –Irish Rich

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SEX & SPEED | “JUNGLE PAM” HARDY & “JUNGLE JIM” LIBERMAN LIGHT ‘EM UP

1973 — “Jungle Pam” Hardy and “Jungle Jim” Liberman with his Chevy Vega Funny Car.

You’d be hard-pressed to say who was hotter back in the ’70s– “Jungle Pam” in her go-go boots, short-shorts, and titillating tops… or “Jungle Jim” Liberman’s rubber-melting burnouts, wheelstands, and screaming up and down the length of the dragstrip backwards.  Liberman was arguably one of the most flamboyant and memorable showmen on the funny car circuit, who knew better than anyone what the crowd wanted– and hiring the 18 yr old tall, dark and sexy “Jungle Pam” Hardy as his sassy staging sidekick was a calculated stroke of marketing genius.  But she was no lightweight– she quickly learned to turn a wrench, know here way around cars, the crowds, and the scene– the fans loved her.

“Jungle Pam” is still a legend to this day, and a true original.  Sadly, Jim Liberman left us back in ’77 when his Corvette hit a bus head-on in a tragic road accident.  His spirit lives through all the drivers he’s inspired, and the countless memories of his “Jungle Jim” antics and achievements during Liberman’s legendary racing career.

Drag racing legends “Jungle Pam” Hardy and “Jungle Jim” Liberman doing what they do best.

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“Jungle Pam” gets down.

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CARROLL SHELBY & THE FORD GT40 | FOUR YRS OF DOMINATION AT LE MANS

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When Henry Ford II’s quest to buy Ferrari back in 1963 was spitefully squelched by Enzo, the mandate was given to, “Kick Ferrari’s ass.” And not just anywhere– at Le Mans, the world stage of auto racing.  The ass-kicking would finally come in the beautiful & brutish form of the iconic Ford GT40–America’s most incredible racecar ever.

Originally developed in England by Ford Advanced Vehicles Ltd under the direction of Aston Martin’s former team manager, John Wyer, the GT40 failed at Le Mans in ’64 & ’65, as Ferrari finished 1-2-3 both years. With failure no longer an option for anyone who wished to remain employed by Ford, Carroll Shelby was tapped to give the GT40 the necessary bite to beat the Italians.  Shelby’s success at Le Mans in his own Cobras, and again with the GT40, was not about technology, but by being crafty.  He replaced the 289 c.i. GT40 engine with the same powerful, big block 427 c.i. V-8 that powered his Cobras.  The lower revving, larger displacement V-8’s were more able to take the stress of long endurance races than the higher-revving, small displacement engines used by Ferrari.

Shelby not only ended Ferrari’s racing dominance, he exacted sweet revenge for Enzo’s snub– and garnered Ford a remarkable four-year winning streak from 1966 – 1969.

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Two massive American automotive legends — Carroll Shelby and the iconic Ford GT40. Originally labeled GT, ’40’ was added due to its incredibly low 40-inch stance.

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West Sussez, England — A Carroll Shelby masterpiece, 1960s JW Automotive/American Gulf Oil-sponsored Ford GT40  racecar at the Goodwood race track — Image by © Martyn Goddard/Corbis

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1969 Carroll Shelby / Ford GT40 MK 1 racecar (JW Automotive/American Gulf Oil-sponsored) with body panels removed.  This Ford GT P/1075 is one of the few racecars to ever win the 24 Hours of Le Mans back to back– here pictured as #6. — Image by © Martyn Goddard/Corbis

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OLD SCHOOL HURST GIRLS GONE WILD | GENTLEMEN, START YOUR ENGINES

linda-vaughn-hurst-lug-nutsLinda Vaughn, the legendary “Miss Hurst Golden Shifter”

Linda Vaughn, the lovely, leggy, legend of the auto racing scene from the 60’s through the early 80’s was better known as– Miss Hurst Golden Shifter. She was a trophy queen whose voluptuous looks and charm often stole the show at auto racing events she attended– SCCA, NASCAR, Indy & Formula One, among others.  Linda has been knocked by many for setting Women’s Lib back with her busty displays, but her passion for the sport ran deep and she had a major impact– not just in promoting the sponsors, but also in advancing women’s racing.  Vaughn earned her SCCA competition license at the Bob Bondurant School of High Performance Driving and then got behind the wheel and raced.

Linda Vaughn, the legendary “Miss Hurst Golden Shifter”

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TWO-LANE BLACKTOP | UNDER THE HOOD OF THE EPIC 1971 ROAD FLICK

 

“The whole idea of the road, of going from one place to another, is essentially American.”

Two-Lane Blacktop Screenwriter, Rudy Wurlitzer

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Esquire magazine printed the entire screenplay in its April ’71 issue before the movie was even released and boldly declared Two-Lane Blacktop as, “The Film of the Year.”  Set largely on old Route 66, which had seen better days, filming locations stretched from California to Tennessee, and the project was wrapped up in two months for mere pocket change– $950,000.  And while it wouldn’t quite live up to Universal’s expectations (who did little to promote it) and become a commercial success by anyone’s standards– it would survive the test of time to become a cultural icon, and one of the most loved road films ever made.

There still a lot of love for Two-Lane Blacktop even after all these ears.  Sadly, there aren’t a lot of great studio stills that have survived– finding decent pics on the internet was slim pickings.  I’ve had a few squirreled away for a spell (courtesy of Performance Pontiac Magazine, go figure) and so out they now shall come– along with a few tidbits from behind the camera.

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“I saw a picture of James Taylor on a billboard on the Sunset Strip promoting his new album.  I thought his look was right for the part of The Driver.  Regarding Laurie Bird, I took a trip to New York to meet with Rudy Wurlitzer, and, while there, met with a number of modeling agencies just to explore that field.  When you’re looking for someone that age to play that role, it’s impossible to find someone who is established, so I anticipated finding an unknown.  I checked out modeling agencies and met with people in L.A. as well and she was recommended.  Laurie was so inexperienced it never occurred to me that I would actually cast her.  She seemed so typical of what we had in mind for the character, however, that we used her as a prototype.  Rudy and I did a three-hour taped interview with her; she became the template for the character.  I still thought I could cast an actress who could play the part, but I couldn’t.  Someone then had the bright idea of screen-testing Laurie.”   –Director Monte Hellman

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“Dennis Wilson (of Beach Boys fame) was the last one to come onboard, after I ran through every actor and some other musicians.  As a matter of fact, we even met with Randy Newman.  Fred Roos, the casting director, finally suggested Dennis.  If memory serves, I saw Robert DeNiro, Al Pacino, and James Caan; I think I saw every young actor in Hollywood.  Dennis was very easy going. The only problem was that he was having so much fun that it was hard to find him when we were ready to shoot because he was off somewhere playing all the time.”   –Director Monte Hellman

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EARL COOPER | AUTO RACING LEGENDS AT THE DAWN OF THE GOLDEN AGE

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Earl Cooper, auto racer, taken at the auto races at Salem, New Hampshire. Cooper’s last major victory was here at the Rockingham board track speedway. He won that 200-miler with a front-drive Miller in 1926.  — Image by © Bettmann/CORBIS— Image by © Bettmann/CORBIS

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Nebraska-born in 1886, Earl Cooper became a star just as the Golden Age of auto racing was dawning. Cooper’s illustrious racing career, in which he racked-up three National Championships (1913, 1915 & 1917) and 11 top 10 points finishes, all started in 1904– in an ironic and bittersweet twist.

It was 1904, and Cooper was on the West Coast working as a mechanic at a Maxwell auto dealership. Cooper was bitten by the racing bug, but when he appealed to the Maxwell dealership for sponsorship in a San Francisco race, he was refused.  Turns-out his own boss was competing in the same race and did not welcome the friendly competition.  So Cooper scoffed at the dealership’s snub, and somehow was able to convince a kind old woman to let him enter  her brand new Maxwell in the race.  Cooper soundly beat his boss– and just as quick, found himself unemployed.  With nothing left to lose, he went on a racing tear, up and down the West Coast, where he was at times unstoppable.

Cooper joined the Stutz racing team in 1912, and just one year later went on to win the National Championship– racking up 2,610 points.  Cooper dominated the scene that year, winning five of the eight major road races, along with one 2nd place finish.

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Earl Cooper and his riding mechanic in the Stutz car. Picture taken at Indianapolis 500 qualifying in 1919. (Indianapolis Motor Speedway photo. Noel Allard collection)

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In 1913, Cooper’s Hell-bent rival, Barney Oldfield, was driving for the Mercer team.  The two battled fast and furiously, matching their skill and will on the racetrack–

Cooper and Oldfield would run head-to-head at the Santa Monica Road Race, held on an eight-mile macadam course near the ocean. Oldfield blasted away from the starter’s flag and held a sizeable lead, but Cooper passed Tetzlaff for second and began running Oldfield down. With a 4-minute lead over Oldfield, one of Cooper’s tires blew out and he had to coast into the pits. As his riding mechanic struggled to get the wheel off, Oldfield roared past. Cooper jumped out of the driver’s seat and wrenched the wheel off, the tire was changed and the car back on the track to begin running down Oldfield once more. In his exuberance to stay ahead, this time Oldfield blew a tire and bumped into the pits as Cooper whisked past and on to the checkered flag as the winner.

On September 9, 1913, Cooper and Oldfield again met head-to-head on a 3-mile paved track that circled the town of Corona, California. Cooper, after experiencing the tire problem at Santa Monica, had cannily practiced on the course to find what maximum speed he could drive in order to not make any tire stops at all. He determined that if he drove 75 mph. for the entire race, he could do just that. Oldfield, hell-bent-for-leather, predicted that the race average would go to 90 mph. Oldfield set the pace from the start, over Cooper, Tetzlaff, DePalma and Spencer Wishart. He clocked an awesome 98 mph on one lap, but the track had started to break up from the pounding it was taking from the heavy cars. Oldfield burst a tire and Cooper inherited the lead. Oldfield was back on the track and again at speed when again, a young spectator ran onto the track in front of him. Oldfield swerved to avoid the lad and crashed heavily, injuring several people and himself. Cooper won again and would go on to take his first AAA National Championship.

–Noel Allard

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Earl Cooper in action at the start of a race in 1925, Laurel, Maryland.

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MORGAN MOTOR COMPANY | MAKERS OF THE WORLD’S FIRST TRUE SPORTS CAR

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Mick Jagger of The Rolling Stones behind the wheel of his yellow Morgan Plus 8 roadster in St. Tropez, France, 9 May 1971.  Photo by  Reg Lancaster/Daily Express/Hulton Archive/Getty Images

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Morgan owners are a unique bunch, and definitely my kind of people.  Typically, they aren’t your prissy, pretentious bunch of fetishists with pristine, untouchable autos.  They actually enjoy driving their beloved Morgans– and they drive them a lot, smiling all the while.

Much like British MG’s and Triumphs back in the day, Morgans gained popularity as relatively inexpensive and cool  sports cars (nowadays, a Morgan, still handmade, can set you back as much as $300,00 depending on your specifications, and be prepared to wait several years to take delivery) for young auto enthusiasts who would presumably get their kicks out of their ride for a few years, and then grow up and move on.  In fact, A young Ralph Lauren drove an off-white Morgan drop-top back in his early menswear days.  Ralph ended up letting the Morgan go because he could no longer afford to park it in the city– at least that’s how the story goes– but don’t feel sorry for Ralph, he now has one of the most enviably car collections in the world.

Over the years, the Morgan Motor Company”s quality, design, and nostalgic appeal proved to be timeless, right down to it’s Ash (yes, wooden) subframe– and spawned a strong legion of devoted followers.  And, if you know anything about Morgans, then you’re probably up-to-speed that it’s not the most user-friendly ride out there.  If you’re looking for luxury, comfort, and state of the art performance– move along.  This isn’t the car for you.  So why a Morgan?  Well, if you have to ask–

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Classic Morgan Sports Car on Blue Ridge Parkway — Image by © Martyn Goddard/Corbis

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”The real appeal of the Morgan is a sort of anti-appeal,” says Burt Fendelman, a three-time Morgan owner. ”They’re not comfortable. They’re not practical. They’re not even weatherproof. But they’re rugged and a wonderful driving car, very tight in their handling, with no power steering or brakes or anything else. They offer a closeness to the road, a feel that can’t be matched.”

How about the feeling of pulling up next to a Porsche or Ferrari and taking it off the line?  Yep, equipped with a more than capable V-8, a well-tuned Morgan Plus 8 can do that.  I probably wouldn’t dare to test the Morgan’s handling abilities at top speed (125-130 mph), but this is a classic open road cruiser best enjoyed at speeds where you can take in the scenery.

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Nov 27th, 1931, London, England — Two men lift the cover to show the Morgan Three-Wheeler automobile during preparations for the motor cycle show at Olympia in 1931. — Image by © Hulton-Deutsch Collection/CORBIS

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STEVE McQUEEN | HOLLYWOOD’S ANTI-HERO & TRUE SON OF LIBERTY

Steve McQueen– ironically displaying his signature, perfect balance of allegiance and rebellion.

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“I live for myself and I answer to nobody.”

–Steve McQueen

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Steve McQueen personified the “anti-hero” in Hollywood at a time when the emerging counterculture in America was challenging the very definition of what a true “hero” is.  Maybe a better way to look at it is– heroism is an act.  To live an idealistic, heroic life without fault is ultimately impossible.  We all struggle with aligning our beliefs and goals in life with what is truly right.  The fact is there are grey areas that we have to be honest about.  We saw the good and bad in McQueen, and loved him anyway– in fact, we loved him for it.  He was honest about who he was.

We all know McQueen raced cars and motorcycles, but his story goes a lot deeper than that.  His father abandoned him and his alcoholic mother when he was just six-months-old.  Steve locked horns with his new stepfather, whom he called “a prime son of a bitch”.  He struggled with dyslexia in school and was partially deaf.  The young McQueen soon fell in with a street gang, and ran away from home at 14, joining the circus for a short time, and was eventually turned over to the California Junior Boys Republic in Chino Hills, California.  McQueen later worked in a brothel, on an oil rigger– and was even a lumberjack. When he was old enough he enlisted in the U.S.M.C., went AWOL and spent 41 days in the brig.  McQueen decided then and there to embrace the Marines’ discipline and beliefs and better himself. He did just that and later saved the lives of five other Marines during an Arctic exercise, pulling them from a tank before it broke through ice into the sea.  In 1950, McQueen was eventually honorably discharged.

After the Marines, McQueen used his G.I. Bill to study acting at Sanford Meisner’s Neighborhood Playhouse. He brought home extra dough by competing in weekend motorcycle races at Long Island City Raceway.  His big break came in 1958 when he landed the role of the bounty hunter, Josh Randall, in Wanted: Dead or Alive.  Steve McQueen became a household name, and his image as the anti-hero was forged through his character’s detached, mysterious, and unconventional ways– like carrying a sawed-off Winchester rifle, the “Mare’s Leg”, instead of typical six-gun carried by other gunslingers. Hollywood soon came calling, and the rest is history.

All this from a kid born into what many would consider a throw-away life.

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“When I believe in something, I fight like hell for it.”

–Steve McQueen

A young Steve McQueen

Steve McQueen in a studio still shot from The Great Escape.

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THE WHITE TRIPLEX | THREE ENGINES, 1500 HP, AND ONE TRAGIC RESULT

March 9th, 1929, Daytona, FL — Original caption: J.W. White, famous American speed king, standing beside his Triplex machine which he will drive in an attempt to break the world’s automobile speed record. — Image by © Bettmann/CORBIS

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Jim White was a wealthy Philadelphian who desperately wanted to snatch the land speed record from the hands of British racers Henry Segrave and Malcolm Campbell. Thus, the White Triplex was born. White decided that no single engine would do to challenge the British Napier Lion, so a straight-forward and solid chassis was built, onto which three war-surplus 27-liter Liberty airplane engines were mounted– giving it a total of 36 cylinders, 81 liter displacement, and a staggering 1,500 bhp in all.

The Triplex’s design was a brutish barebones approach– it had no clutch or gearbox, and only a single fixed ratio. Once started by a push start, it had to keep rolling. Driver comforts were minimal to say the least– the forward engine was sheathed in a modest attempt at streamlining, and the two mounted side-by-side in back were totally exposed. The courageous (or crazy) driver was then perched precariously in the middle.

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Circa 1928-29– White Triplex land speed record car, showing the three engines. Image from the Florida Photographic Collection.  Link

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Ray Keech, an experienced Indianapolis racer, and imposing man with flaming red hair, was paid a handsome sum to drive the White Triplex in the first speed record attempt at Daytona Beach, FL. The first trial runs proved to be dangerous indeed– no one had ever been faced with so much massive power, and in such crude form. Keech suffered burns behind the wheel of both runs– first from a burst radiator hose, then by exhaust flames from the front engine.

The overly simplistic design of the White Triplex posed a particular problem for the officials governing the speed record attempt. The regulations required vehicles to have a “means for reversing”, which the White Triplex definitely didn’t.  White’s Mechanics first jury-rigged an electric motor and roller drive onto a tire, but it was unable to rotate against the force of the three large engines, which could not be un-clutched. An even more elaborate “solution” was tried. An entire separate rear axle was fitted, held above ground until dropped by a release lever and then driven by a separate driveshaft. The device was ridiculous, and isn’t believed to have been utilized during the actual speed record attempt itself– but it was enough to successfully satisfy the official’s needs.

On April 22nd, 1928, Keech set a new speed record in the White Triplex of 207.55 mph at Daytona Beach.

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Circa 1928 — Ray Keech is shown here on the day that he broke the speed record at Daytona Beach, FL. In this image you can clearly see the extra rear axle that was added for record qualification purposes. — Image by © Bettmann/CORBIS

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